«Детская литература: Учебное пособие для учителей и педагогических классов»

Taffy was in bed;

I took up the marrow-bone

And flung it at his head!

131

ПРОСТАК САЙМОН

Simple Simon met a pieman

Going to the fair:

Says Simple Simon to the pieman,

"Let me taste your ware."

Says the pieman to Simple Simon,

"Show me first your penny."

Says Simple Simon to the pieman,

"Indeed I haven't any."

Simple Simon went a fishing

Just to catch a whale:

All the water he had got

Was in his mother's pail.

Simple Simon went to look

If plums grew on a thistle;

He pricked his fingers very much,

Which made poor Simon whistle.

132

ФЕРМЕР ПОЕХАЛ РЫСЬЮ

A farmer went trotting upon his gray mare,

Bumpety, bumpety, bump!

With his daughter behind him so rosy and fair,

Lumpety, lumpety, lump!

A raven cried "Croak!" and they all tumbled down,

Bumpety, bumpety, bump!

The mare broke her knees, and the farmer his crown,

Lumpety, lumpety, lump!

The mischievous raven flew laughing away,

Bumpety, bumpety, bump!

And vowed he would serve them the same the next day,

Lumpety, lumpety, lump!

133

ТОМ, СЫН ДУДОЧНИКА

Tom he was a piper's son,

He learned to play when he was young,

But all the tunes that he could play,

Was "Over the hills and far away";

Over the hills, and a great way off,

And the wind will blow my top-knot off.

Now Tom with his pipe made such a noise,

That he pleased both the girls and boys,

And they stopped to hear him play,

"Over the hills and far away."

Tom with his pipe did play with such skill,

That those who heard him could never keep still;

Whenever they heard him they began to dance,

Even pigs on their hind legs would after him prance.

As Dolly was milking her cow one day,

Tom took out his pipe and began to play;

So Doll and the cow danced "the Cheshire round,"

Till the pail was broke and the milk ran on the ground.

He met old dame Trot with a basket of eggs,

He used his pipes and she used her legs;

She danced about till the eggs were all broke,

She began for to fret, but he laughed at the joke.

He saw a cross fellow was beating an ass,

Heavy laden with pots, pans, dishes, and glass;

He took out his pipe and played them a tune,

And the jackass's load was lightened full soon.

134

КОГДА Я БЫЛ МАЛЕНЬКИМ МАЛЬЧИКОМ

When I was a little boy,

I lived by myself,

And all the bread and cheese I got,

I put upon my shelf.

The rats and the mice,

They made such a strife,

I had to go to London

To buy me a wife.

The streets were so broad,

And the lanes were so narrow,

I had to bring my wife home

On a wheelbarrow.

The wheelbarrow broke,

And my wife had a fall;

Down tumbled wheelbarrow,

Little wife and all.

135

ДЕТИ В ЛЕСУ

My dear, you must know that a long time ago,

Two poor little children whose names I don't know,

Were stolen away on a fine summer's day,

And left in a wood, as I've heard people say.

Poor babes in the wood, poor babes in the wood!

So hard was the fate of the babes in the wood.

And when it was night, so sad was their plight,

The sun it went down, and the stars gave no light.

They sobbed and they sighed, and they bitterly cried,

And the poor little things they lay down and died.

And when they were dead, the robins so red,

Brought strawberry leaves, and over them spread.

And all the day long, the branches among,

They sang to them softly, and this was their song:

Poor babes in the wood, poor babes in the wood!

So hard was the fate of the babes in the wood.

136

ЛИС И ЕГО ЖЕНА

The fox and his wife they had a great strife,

They never ate mustard in all their whole life;

They ate their meat without fork or knife,

And loved to be picking a bone, e-oh!

The fox jumped up on a moonlight night;

The stars they were shining, and all things bright;

Oh, ho! said the fox, it's a very fine night

For me to go through the town, e-oh!

The fox when he came to yonder stile,

He lifted his ears and he listened awhile!

Oh, ho! said the fox, it's but a short mile

From this unto yonder wee town, e-oh!

The fox when he came to the farmer's gate,

Who should he see but the farmer's drake;

I love you well for your master's sake,

And long to be picking your bone, e-oh!

The gray goose she ran round the haystack,

Oh, ho! said the fox, you are very fat;

You'll grease my beard and ride on my back

From this into yonder wee town, e-oh!

The farmer's wife she jumped out of bed,

And out of the window she popped her head:

Oh, husband! oh, husband! the geese are all dead,

For the fox has been through the town, e-oh!

The farmer he loaded his pistol with lead,

And shot the old rogue of a fox through the head;

Ah, ha! said the farmer, I think you're quite dead;

And no more you'll trouble the town, e-oh!

137

ЗА НЕИМЕНИЕМ ГВОЗДЯ

For want of a nail, the shoe was lost;

For want of the shoe, the horse was lost;

For want of the horse, the rider was lost;

For want of the rider, the battle was lost;

For want of the battle, the kingdom was lost;

And all for the want of a horseshoe nail!

138

ЧЕЛОВЕК СЛОВА

A man of words and not of deeds

Is like a garden full of weeds;

And when the weeds begin to grow,

It's like a garden full of snow;

And when the snow begins to fall,

It's like a bird upon the wall;

And when the bird away does fly,

It's like an eagle in the sky;

And when the sky begins to roar,

It's like a lion at the door;

And when the door begins to crack,

It's like a stick across your back;

And when your back begins to smart,

It's like a penknife in your heart;

And when your heart begins to bleed,

You're dead, and dead, and dead, indeed.

139

The first stanza of this jingle was long attributed to Longfellow as an impromptu made on one of his children. He took occasion to deny this, as well as the authorship of the almost equally famous "Mr. Finney had a turnip." The last two stanzas bear evidence of a more sophisticated origin than that of real nursery rhymes. Mr. Lucas, in his Book of Verses for Children, gives two different versions of these stanzas.

ДЖЕМАЙМА

There was a little girl, and she had a little curl,

Right down the middle of her forehead,

When she was good, she was very, very good,

But when she was bad, she was horrid.

One day she went upstairs, while her parents, unawares,

In the kitchen down below were occupied with meals,

And she stood upon her head, on her little truckle-bed,

And she then began hurraying with her heels.

Her mother heard the noise, and thought it was the boys,

A playing at a combat in the attic,

But when she climbed the stair and saw Jemima there,

She took and she did whip her most emphatic!

140

The following was one of the favorite "toy-book" texts of the eighteenth century. These little books generally had a crude woodcut and one stanza of text on a page. It can be seen how easily this story lends itself to illustration. Each stanza is a chapter, and the story-teller could continue as long as his inventiveness held out. In one edition there are these additional lines:

"Old Mother Hubbard sat down in a chair,

And danced her dog to a delicate air;

She went to the garden to buy him a pippin,

When she came back the dog was a-skipping."

МАТУШКА ХАББАРД И ЕЕ СОБАКА

Old Mother Hubbard

Went to the cupboard,

To get her poor dog a bone;

But when she came there,

The cupboard was bare,

And so the poor dog had none.

She went to the baker's

To buy him some bread;

But when she came back,

The poor dog was dead.

She went to the joiner's

To buy him a coffin;

But when she came back,

The poor dog was laughing.

She took a clean dish,

To get him some tripe;

But when she came back

He was smoking his pipe.

She went to the fishmonger's

To buy him some fish;

And when she came back

He was licking the dish.

She went to the ale-house

To get him some beer;

But when she came back

The dog sat in a chair.

She went to the tavern

For white wine and red;

But when she came back

The dog stood on his head.

She went to the hatter's

To buy him a hat;

But when she came back

He was feeding the cat.

She went to the barber's

To buy him a wig;

But when she came back

He was dancing a jig.

She went to the fruiterer's

To buy him some fruit;

But when she came back,

He was playing the flute.

She went to the tailor's

To buy him a coat;

But when she came back,

He was riding a goat.

She went to the cobbler's

To buy him some shoes;

But when she came back,

He was reading the news.

She went to the seamstress

To buy him some linen;

But when she came back,

The dog was spinning.

She went to the hosier's

To buy him some hose;

But when she came back,

He was dressed in his clothes.

The dame made a curtsy,

The dog made a bow;

The dame said, "Your servant,"

The dog said, "Bow, wow."

141

This story of a bird courtship and marriage with its attendant feast and tragedy, all followed by the long dirge of No. 142, constitutes one of the longest nursery novels. Its opportunities for the illustrator are very marked, and a copy illustrated by the children themselves would be an addition to the joy of any schoolroom.

УХАЖИВАНИЕ, ВЕСЕЛАЯ СВАДЬБА И ПИКНИК МАЛИНОВКИ И КРАПИВНИКА

TO WHICH IS ADDED

СКОРБНАЯ СМЕРТЬ МАЛИНОВКИ

It was a merry time

When Jenny Wren was young,

So neatly as she danced,

And so sweetly as she sung,

Robin Redbreast lost his heart:

He was a gallant bird;

He doft his hat to Jenny,

And thus to her he said:—

"My dearest Jenny Wren,

If you will but be mine,

You shall dine on cherry pie,

And drink nice currant wine.

I'll dress you like a Goldfinch,

Or like a Peacock gay;

So if you'll have me, Jenny,

Let us appoint the day."

Jenny blushed behind her fan,

And thus declared her mind:

"Then let it be to-morrow, Bob,

I take your offer kind—

Cherry pie is very good!

So is currant wine!

But I will wear my brown gown,

And never dress too fine."

Robin rose up early

At the break of day;

He flew to Jenny Wren's house,

To sing a roundelay.

He met the Cock and Hen,

And bid the Cock declare,

This was his wedding-day

With Jenny Wren, the fair.

The Cock then blew his horn,

To let the neighbors know,

This was Robin's wedding-day,

And they might see the show.

And first came parson Rook,

With his spectacles and band,

And one of Mother Hubbard's books

He held within his hand.

Then followed him the Lark,

For he could sweetly sing,

And he was to be clerk

At Cock Robin's wedding.

He sang of Robin's love

For little Jenny Wren;

And when he came unto the end,

Then he began again.

Then came the bride and bridegroom;

Quite plainly was she dressed,

And blushed so much, her cheeks were

As red as Robin's breast.

But Robin cheered her up:

"My pretty Jen," said he,

"We're going to be married

And happy we shall be."

The Goldfinch came on next,

To give away the bride;

The Linnet, being bride's maid,

Walked by Jenny's side;

And, as she was a-walking,

She said, "Upon my word,

I think that your Cock Robin

Is a very pretty bird."

The Bullfinch walked by Robin,

And thus to him did say,

"Pray, mark, friend Robin Redbreast,

That Goldfinch, dressed so gay;

What though her gay apparel

Becomes her very well,

Yet Jenny's modest dress and look

Must bear away the bell."

The Blackbird and the Thrush,

And charming Nightingale,

Whose sweet jug sweetly echoes

Through every grove and dale;

The Sparrow and Tom Tit,

And many more, were there:

All came to see the wedding

Of Jenny Wren, the fair.

"O then," says parson Rook,

"Who gives this maid away?"

"I do," says the Goldfinch,

"And her fortune I will pay:

Here's a bag of grain of many sorts,

And other things beside;

Now happy be the bridegroom,

And happy be the bride!"

"And will you have her, Robin,

To be your wedded wife?"

"Yes, I will," says Robin,

"And love her all my life."

"And will you have him, Jenny,

Your husband now to be?"

"Yes, I will," says Jenny,

"And love him heartily."

Then on her finger fair

Cock Robin put the ring;

"You're married now," says parson Rook,

While the Lark aloud did sing:

"Happy be the bridegroom,

And happy be the bride!

And may not man, nor bird, nor beast,

This happy pair divide."

The birds were asked to dine;

Not Jenny's friends alone,

But every pretty songster

That had Cock Robin known.

They had a cherry pie,

Besides some currant wine,

And every guest brought something,

That sumptuous they might dine.

Now they all sat or stood

To eat and to drink;

And every one said what

He happened to think;

They each took a bumper,

And drank to the pair:

Cock Robin, the bridegroom,

And Jenny Wren, the fair.

The dinner-things removed,

They all began to sing;

And soon they made the place

Near a mile round to ring.

The concert it was fine;

And every bird tried

Who best could sing for Robin

And Jenny Wren, the bride.

Then in came the Cuckoo,

And he made a great rout:

He caught hold of Jenny,

And pulled her about.

Cock Robin was angry,

And so was the Sparrow,

Who fetched in a hurry

His bow and his arrow.

His aim then he took,

But he took it not right;

His skill was not good,

Or he shot in a fright;

For the Cuckoo he missed,

But Cock Robin killed!—

And all the birds mourned

That his blood was so spilled.

142

ПОХОРОНЫ БЕДНОЙ МАЛИНОВКИ

Who killed Cock Robin?

"I," said the Sparrow,

"With my bow and arrow;

And I killed Cock Robin."

Who saw him die?

"I," said the Fly,

"With my little eye;

And I saw him die."

Who caught his blood?

"I," said the Fish,

"With my little dish;

And I caught his blood."

Who made his shroud?

"I," said the Beetle,

"With my little needle;

And I made his shroud."

Who will be the parson?

"I," said the Rook;

"With my little book;

And I will be the parson."

Who will dig his grave?

"I," said the Owl,

"With my spade and shovel;

And I'll dig his grave."

Who will be the clerk?

"I," said the Lark,

"If 'tis not in the dark;

And I will be the clerk."

Who'll carry him to the grave?

"I," said the Kite,

"If 'tis not in the night;

And I'll carry him to the grave."

Who will be the chief mourner?

"I," said the Dove,

"Because of my love;

And I will be chief mourner."

Who will sing a psalm?

"I," said the Thrush,

As she sat in a bush;

"And I will sing a psalm."

Who will bear the pall?

"We," said the Wren,

Both the Cock and the Hen;

"And we will bear the pall."

Who will toll the bell?

"I," said the Bull,

"Because I can pull."

And so, Cock Robin, farewell.

All the birds of the air

Fell to sighing and sobbing

When they heard the bell toll

For poor Cock Robin.

143

The following tale was edited (1885) for children by John Ruskin from a version "written principally by a lady of ninety (Mrs. Sharp.)" Ruskin himself added the third, fourth, eighth, and ninth stanzas, because "in the old books no account is given of what the cats learned when they went to school, and I thought my younger readers might be glad of some notice of such particulars." But he thought his rhymes did not ring like the real ones, of which he said: "I aver these rhymes to possess the primary value of rhyme—that is, to be rhythmical in a pleasant and exemplary degree." The book was illustrated with quaint woodcuts for each stanza after the edition of 1823, with additional drawings for the four new stanzas by Kate Greenaway, one of the most famous illustrators of children's books. Ruskin commends the result "to the indulgence of the Christmas fireside, because it relates nothing that is sad, and portrays nothing that is ugly."

ДАМА ВИГГИНС ИЗ ЛИ И ЕЕ СЕМЬ ЧУДЕСНЫХ КОШЕК

Dame Wiggins of Lee

Was a worthy old soul,

As e'er threaded a nee-

dle, or wash'd in a bowl;

She held mice and rats

In such antipa-thy,

That seven fine cats

Kept Dame Wiggins of Lee.

The rats and mice scared

By this fierce whisker'd crew,

The poor seven cats

Soon had nothing to do;

So, as any one idle

She ne'er loved to see,

She sent them to school,

Did Dame Wiggins of Lee.

The Master soon wrote

That they all of them knew

How to read the word "milk"

And to spell the word "mew."

And they all washed their faces

Before they took tea:

"Were there ever such dears!"

Said Dame Wiggins of Lee.

He had also thought well

To comply with their wish

To spend all their play-time

In learning to fish

For stitlings; they sent her

A present of three,

Which, fried, were a feast

For Dame Wiggins of Lee.

But soon she grew tired

Of living alone;

So she sent for her cats

From school to come home.

Each rowing a wherry,

Returning you see:

The frolic made merry

Dame Wiggins of Lee.

The Dame was quite pleas'd

And ran out to market;

When she came back

They were mending the carpet.

The needle each handled

As brisk as a bee;

"Well done, my good cats,"

Said Dame Wiggins of Lee.

To give them a treat,

She ran out for some rice;

When she came back,

They were skating on ice.

"I shall soon see one down,

Aye, perhaps, two or three,

I'll bet half-a-crown,"

Said Dame Wiggins of Lee.

When spring-time came back

They had breakfast of curds;

And were greatly afraid

Of disturbing the birds.

"If you sit, like good cats,

All the seven in a tree,

They will teach you to sing!"

Said Dame Wiggins of Lee.

So they sat in a tree,

And said "Beautiful! Hark!"

And they listened and looked

In the clouds for the lark.

Then sang, by the fireside,

Symphonious-ly

A song without words

To Dame Wiggins of Lee.

They called the next day

On the tomtit and sparrow,

And wheeled a poor sick lamb

Home in a barrow.

"You shall all have some sprats

For your humani-ty,

My seven good cats,"

Said Dame Wiggins of Lee.

While she ran to the field,

To look for its dam,

They were warming the bed

For the poor sick lamb:

They turn'd up the clothes

All as neat as could be;

"I shall ne'er want a nurse,"

Said Dame Wiggins of Lee.

She wished them good night,

And went up to bed:

When, lo! in the morning,

The cats were all fled.

But soon—what a fuss!

"Where can they all be?

Here, pussy, puss, puss!"

Cried Dame Wiggins of Lee.

The Dame's heart was nigh broke,

So she sat down to weep,

When she saw them come back

Each riding a sheep:

She fondled and patted

Each purring tom-my:

"Ah! welcome, my dears,"

Said Dame Wiggins of Lee.

The Dame was unable

Her pleasure to smother,

To see the sick lamb

Jump up to its mother.

In spite of the gout,

And a pain in her knee,

She went dancing about:

Did Dame Wiggins of Lee.

The Farmer soon heard

Where his sheep went astray,

And arrived at Dame's door

With his faithful dog Tray.

He knocked with his crook,

And the stranger to see,

Out the window did look

Dame Wiggins of Lee.

For their kindness he had them

All drawn by his team;

And gave them some field-mice,

And raspberry-cream.

Said he, "All my stock

You shall presently see;

For I honor the cats

Of Dame Wiggins of Lee."

He sent his maid out

For some muffins and crumpets;

And when he turn'd round

They were blowing of trumpets.

Said he, "I suppose

She's as deaf as can be,

Or this ne'er could be borne

By Dame Wiggins of Lee."

To show them his poultry,

He turn'd them all loose,

When each nimbly leap'd

On the back of a goose,

Which frighten'd them so

That they ran to the sea,

And half-drown'd the poor cats

Of Dame Wiggins of Lee.

For the care of his lamb,

And their comical pranks,

He gave them a ham

And abundance of thanks.

"I wish you good-day,

My fine fellows," said he;

"My compliments, pray,

To Dame Wiggins of Lee."

You see them arrived

At their Dame's welcome door;

They show her their presents,

And all their good store.

"Now come in to supper,

And sit down with me;

All welcome once more,"

Cried Dame Wiggins of Lee.

144

This is the perfect pattern of all the accumulative stories, perhaps the best known and most loved of children among all nursery jingles. Halliwell thought it descended from the mystical Hebrew hymn, "A kid, a kid," found in the Talmud. Most commentators since have followed his example in calling attention to the parallel, though scholars have insisted that the hymn referred to is a late interpolation. The hymn opens:

"A kid, a kid, my father bought,

For two pieces of money:

A kid, a kid.

"Then came the cat, and ate the kid,

That my father bought," etc.

Then came the dog and bit the cat, then the staff and beat the dog, then the fire and burned the staff, then water and quenched the fire, then the ox and drank the water, then the butcher and slew the ox, then the angel of death and killed the butcher, and the hymn concludes:

"Then came the Holy One, blessed be He!

And killed the angel of death,

That killed the butcher,

That slew the ox,

That drank the water,

That quenched the fire,

That burned the staff,

That beat the dog,

That bit the cat,

That ate the kid,

That my father bought

For two pieces of money:

A kid, a kid."

There is an elaborate interpretation of the symbolism of this hymn, going back at least as far as 1731, in which the kid denotes the Hebrews, the father is Jehovah, the cat is the Assyrians, the dog is the Babylonians, the staff is the Persians, the fire is Greece under Alexander, the water is the Roman Empire, the ox is the Saracens, the butcher is the crusaders, the angel of death is the Turkish power, while the concluding accumulation shows that God will take vengeance on the enemies of the chosen people. This is the interpretation in barest outline only. Without the key no one would ever guess its hidden meaning. Fortunately, "The House That Jack Built" has no such hidden meaning. But the important point is that such accumulative stories are almost as old as human records, and, like so many other possessions of the race, seem to have come to us from the Far East.

ЭТО ДОМ, КОТОРЫЙ ПОСТРОИЛ ДЖЕК

This is the house that Jack built.

This is the malt

That lay in the house that Jack built.

This is the rat,

That ate the malt

That lay in the house that Jack built.

This is the cat,

That killed the rat,

That ate the malt

That lay in the house that Jack built.

This is the dog,

That worried the cat,

That killed the rat,

That ate the malt

That lay in the house that Jack built.

This is the cow with the crumpled horn,

That tossed the dog,

That worried the cat,

That killed the rat,

That ate the malt

That lay in the house that Jack built.

This is the maiden all forlorn,

That milked the cow with the crumpled horn,

That tossed the dog,

That worried the cat,

That killed the rat,

That ate the malt

That lay in the house that Jack built.

This is the man all tattered and torn,

That kissed the maiden all forlorn,

That milked the cow with the crumpled horn,

That tossed the dog,

That worried the cat,

That killed the rat,

That ate the malt

That lay in the house that Jack built.

This is the priest all shaven and shorn,

That married the man all tattered and torn,

That kissed the maiden all forlorn,

That milked the cow with the crumpled horn,

That tossed the dog,

That worried the cat,

That killed the rat,

That ate the malt

That lay in the house that Jack built.

This is the cock that crowed in the morn,

That waked the priest all shaven and shorn,

That married the man all tattered and torn,

That kissed the maiden all forlorn,

That milked the cow with the crumpled horn,

That tossed the dog,

That worried the cat,

That killed the rat,

That ate the malt

That lay in the house that Jack built.

This is the farmer sowing his corn,

That kept the cock that crowed in the morn,

That waked the priest all shaven and shorn,

That married the man all tattered and torn,

That kissed the maiden all forlorn,

That milked the cow with the crumpled horn,

That tossed the dog,

That worried the cat,

That killed the rat,

That ate the malt

That lay in the house that Jack built.

145

ЯЙЦО В ГНЕЗДЕ

There was a tree stood in the ground,

The prettiest tree you ever did see;

The tree in the wood, and the wood in the ground,

And the green grass growing all around.

And on this tree there was a limb,

The prettiest limb you ever did see;

The limb on the tree, and the tree in the wood,

The tree in the wood, and the wood in the ground,

And the green grass growing all around.

And on this limb there was a bough,

The prettiest bough you ever did see;

The bough on the limb, and the limb on the tree,

The limb on the tree, and the tree in the wood,

The tree in the wood, and the wood in the ground,

And the green grass growing all around.

Now on this bough there was a nest,

The prettiest nest you ever did see;

The nest on the bough, and the bough on the limb,

The limb on the tree, and the tree in the wood,

The tree in the wood, and the wood in the ground,

And the green grass growing all around.

And in the nest there were some eggs,

The prettiest eggs you ever did see;

Eggs in the nest, and the nest on the bough,

The bough on the limb, and the limb on the tree,

The limb on the tree, and the tree in the wood,

The tree in the wood, and the wood in the ground,

And the green grass growing all around,

And the green grass growing all around.

146

The following story is the same as that of the Norwegian tale "The Husband Who Was to Mind the House" (No. 170). In the Halliwell version the final lines read,

"If his wife didn't do a day's work in her life,

She should ne'er be ruled by he."

A later reading, now generally accepted, avoids the bad grammar by changing to direct discourse.

ПЕРЕМЕНА

There was an old man, who lived in a wood,

As you may plainly see;

He said he could do as much work in a day,

As his wife could do in three.

With all my heart, the old woman said,

If that you will allow,

To-morrow you'll stay at home in my stead,

And I'll go drive the plough:

But you must milk the Tidy cow,

For fear that she go dry;

And you must feed the little pigs

That are within the sty;

And you must mind the speckled hen,

For fear she lay away;

And you must reel the spool of yarn,

That I spun yesterday.

The old woman took a staff in her hand,

And went to drive the plough:

The old man took a pail in his hand,

And went to milk the cow;

But Tidy hinched, and Tidy flinched,

And Tidy broke his nose,

And Tidy gave him such a blow,

That the blood ran down to his toes.

High! Tidy! ho! Tidy! high!

Tidy! do stand still;

If ever I milk you, Tidy, again,

'Twill be sore against my will!

He went to feed the little pigs

That were within the sty;

He hit his head against the beam,

And he made the blood to fly.

He went to mind the speckled hen,

For fear she'd lay astray,

And he forgot the spool of yarn

His wife spun yesterday.

So he swore by the sun, the moon, and the stars,

And the green leaves on the tree,

"If my wife doesn't do a day's work in her life,

She shall ne'er be ruled by me."

РАЗДЕЛ III

СКАЗКИ — ТРАДИЦИОННЫЕ ИСТОРИИ

БИБЛИОГРАФИЯ

I. СТАНДАРТНЫЕ ОБЩИЕ СБОРНИКИ

Jacobs, Joseph, English Fairy Tales, More English Fairy Tales, Celtic Fairy Tales, More Celtic Fairy Tales, Indian Fairy Tales, Europa's Fairy Tales.

Lang, Andrew, The Blue Fairy Book, The Red Fairy Book, The Green Fairy Book, The Yellow Fairy Book.

The Perrault stories are included in the first. Many other volumes named by colors (Violet, Orange, etc.) were made under Mr. Lang's direction, but these four include the cream.

II. НАЦИОНАЛЬНЫЕ СБОРНИКИ

English: Campbell, J. F., Popular Tales of the West Highlands. 4 vols.

Halliwell, J. O., Popular Rhymes and Nursery Tales.

Hartland, E. S., English Fairy and Folk Tales.

German: Grimm, J. and W., Kinder und Hausmärchen (Household Tales).

Translated by Edgar Taylor as Grimm's Popular Stories (55 stories, 1823-1827), and illustrated by George Cruikshank. Best reprint is in one volume with introduction by John Ruskin.

Translated complete by Margaret Hunt (2 vols., 1884), Introduction by Andrew Lang.

Other excellent translations of selected stories by Mrs. Lucas and by Lucy Crane.

Indian: Frere, Mary, Old Deccan Days.

Knowles, J. H., Folk Tales of Kashmir.

Steel, Flora Annie, Tales of the Punjab. (Notes by Captain R. C. Temple.)

Stokes, Maive, Indian Fairy Tales.

Irish: Curtin, J., Hero Tales of Ireland.

Graves, A. P., The Irish Fairy Book.

Hyde, Douglas, Beside the Fire.

Joyce, P. W., Old Celtic Romances.

Wilde, Lady Constance, Ancient Irish Legends.

Yeats, W. B., Irish Fairy Tales.

Italian: Crane, T. F., Italian Popular Tales.

Norse: Asbjörnsen, P. C., and Moe, J., Norske Folke-eventyr (Norwegian Folk Tales, 1842-1844, with subsequent additions).

Translated by Sir George Webbe Dasent in Popular Tales from the Norse and Tales of the Fjeld; by H. L. Braekstad in Round the Yule Log and Fairy Tales from the North.

Slavic: Bain, R. Nesbit, Cossack Fairy Tales, Russian Folk Tales.

III. НАУКА О ФОЛЬКЛОРЕ

Cox, Roalfe, Cinderella. (Introduction by Lang.)

Clouston, W. A., Popular Tales and Fictions. 2 vols.

Gomme, G. L., Folklore as an Historical Science.

Hartland, E. S., The Science of Fairy Tales.

Keightly, Thomas, Fairy Mythology.

Lang, Andrew, Perrault's Popular Tales. (Introduction.)

MacCulloch, J. A., The Childhood of Fiction.

IV. ПЕДАГОГИКА

Adler, Felix, The Moral Instruction of Children, pp. 63-79.

Kready, Laura F., The Study of Fairy Tales. (Indispensable.)

MacClintock, P. L., Literature in the Elementary School, pp. 92-112.

McMurry, Charles, Special Method in Reading, pp. 47-69.

РАЗДЕЛ III: СКАЗКИ — ТРАДИЦИОННЫЕ ИСТОРИИ

ВВЕДЕНИЕ

Сорок три сказки в этом разделе были выбраны (1) с учетом того, что, как показывает опыт, больше всего нравится детям, (2) чтобы максимально полно представить огромное разнообразие нашего традиционного наследия, (3) чтобы дать возможность обратить внимание на дополнительные богатства в различных сборниках и (4) чтобы предложить разумный минимум такого материала для использования с детьми. Как и во всех подобных вопросах суждения, неизбежно будут различия во мнениях. Многие, несомненно, обнаружат отсутствие историй, которые кажутся необходимыми даже для такого небольшого списка, в то время как другие найдут включенные сказки, которые могут показаться сомнительными. Такой выбор может быть, и задуман как таковой, лишь предварительным, отправной точкой, от которой существует множество путей для отступления.

Фольклор. Все эти сказки взяты из области традиций. Они в основном анонимного и народного происхождения, передавались устно крестьянами. Исследование их происхождения, распространения и взаимосвязей относится к науке о фольклоре. Книгами, посвященными исследованиям и дискуссиям в этой интересной области, можно было бы заполнить целую большую библиотеку. Хотя фольклористы могут многое рассказать учителю, их вопросы можно в значительной степени игнорировать, пока последний не будет вполне знаком с большим корпусом признанных шедевров народных сказок, особенно тех, которые школы взяли на вооружение как полезные в начальной работе. Учителя, заинтересованные в дальнейшем изучении этого вопроса — а хочется надеяться, что таких много, — найдут рекомендации в примечаниях к каждой сказке и в предыдущей библиографии, которые могут оказаться полезными, направив их на верный путь. Каждая книга укажет студенту на многие другие; как только он встанет на путь исследования, перед ним откроются многие неожиданные и захватывающие перспективы.

Возражения против сказок. Эти возражения, как правило, сводятся к двум основным пунктам. Во-первых, есть те, кто возражает против любого стимулирования фантазии у детей и кто хотел бы ограничить нас тем, что они называют реальностью. Они хотели бы максимально устранить все детские фантазии. Миру воображения, столь дорогому для младенчества, нет места в их системе взглядов. Во-вторых, есть те, кто сомневается в моральной направленности всех сказок. Они отмечают, что многие из этих сказок дошли до нас из более грубого и примитивного социального состояния, чем наше собственное, что они содержат элементы суеверного и анимистического прошлого, что они часто имеют дело с жестокостями и ужасами, обманами и предательствами, что они полны романтических невероятностей и невозможностей. Можно сразу признать, что мировой фольклор содержит много историй, к которым эти и другие возражения справедливы.

Существует ли надлежащая линия защиты сказок? Доктор Феликс Адлер, которого уж точно нельзя обвинить в нечувствительности к реальности, ставит вопрос так, как между защитниками и противниками: «Рискну предположить, что, как и во многих других случаях, причина спора — это то, что логики называют "нераспределенной серединой" — иными словами, что у сторон спора в уме разные виды сказок. Этот вид литературы можно широко разделить на два класса: один состоит из сказок, которые следует отвергнуть, потому что они действительно вредны, и детей следует защищать от их дурного влияния, другой — из сказок, которые оказывают прекрасное и возвышающее воздействие и которые мы никак не можем позволить себе оставить без внимания». Доктор Адлер далее указывает, что главные педагогические ценности последнего класса заключаются в том, что (1) они упражняют и развивают воображение и (2) они стимулируют идеализирующую тенденцию.

Джон Рёскин, другой педагог, который в своих трудах постоянно делает акцент на необходимости истинного этического понимания, говорит следующее о пагубной привычке пытаться переделать сказку на службе морали: «И эффект стремления сделать истории моральными для литературных достоинств самой работы столь же вреден, сколь ложен мотив этого усилия. Ибо каждая сказка, стоящая того, чтобы ее записать, — это остаток традиции, обладающей истинной исторической ценностью; исторической, по крайней мере, в той мере, в какой она естественно возникла из ума народа при особых обстоятельствах, и возникла не без смысла, и не удалена полностью из сферы их религиозной веры. Впоследствии она претерпевает естественные изменения от искреннего действия страха или фантазии последующих поколений; она приобретает новый цвет от их образа жизни и новую форму от их меняющихся моральных настроений. Пока эти изменения естественны и непринужденны, случайны и неизбежны, история остается по существу истинной, меняя свою форму, подобно летящему облаку, но оставаясь знаком неба; теневым образом, столь же истинно являющимся частью великого небосвода человеческого разума, как и свет разума, который она, кажется, прерывает. Но ложный обман и невинная ошибка ее не могут быть истолкованы или ограничены преднамеренной целью, и все дополнения к ней искусством лишь оскверняют, как пастух нарушает хлопья утреннего тумана дымом от своего костра из мертвых листьев». Вместо того чтобы ретушировать истории, «чтобы удовлетворить определенные вкусы или привить любимые доктрины», Рёскин хотел бы, чтобы ребенок «знал свою сказку точно и испытывал совершенную радость или трепет в представлении о ней, как если бы она была реальной; таким образом, он всегда будет упражнять свою способность постигать реальность: но смутное, небрежное и дискредитирующее владение вымыслом приведет к столь же смутному и небрежному чтению фактов». Более того, Рёскин защищает вульгарность или просторечность языка, встречающуюся во многих сказках, как «здорового и безвредного рода. Это, например, не изящный английский язык, если сказать, что мысль "поп-ап" в голову Кэтрин; но тем не менее, как введение в литературный стиль, гораздо лучше, чтобы ребенку сказали это, чем то, что "предмет привлек внимание Кэтрин"».

Наконец, мы не можем удержаться от того, чтобы не добавить еще одну цитату из самой восхитительной атаки на нападающих на сказки, принадлежащую мисс Репплайер: «То, что является жизненно важным в литературе или традиции, что пережило безвестность и крушение прошлого, будь то легенда, баллада или просто детский стишок, выжило благодаря какому-то внутреннему достоинству и не будет стерто с лица земли никакими нашими предосторожностями или гигиеническими мерами... "Кот в сапогах" — это длинная летопись триумфальной наглости и обмана. Честный и уважающий себя парень объяснил бы королю, что он вовсе не маркиз де Карабас; что он не желает наживаться на изобретательной лжи своего кота и не имеет слабой амбиции связывать себя с аристократией. Такой герой был бы честью для наших современных школьных классов и снял бы груз забот с плеч наших современных критиков. Только дети не приняли бы его, а с тоской вернулись бы к тем храбрым старым сказкам, которые являются их наследием от великолепного прошлого и которых никто не отнимет у них». И на этом окончательном факте, что в литературе последнее решение остается за аудиторией, к которой обращаются, дискуссию можно закончить.

Как использовать сказки. Вкратце, все дело можно подытожить так: знайте свою историю в совершенстве. Не читайте ее (если не можете сделать лучше). Рассказывайте ее — со всей грацией голоса и действия, которой вы можете управлять. Рассказывайте ее естественно и просто, как это делали народные сказители, без вычурных и сложных «элокуционных» эффектов. Рассказывайте ее снова и снова. Если вы сделаете это хорошо, дети не скоро устанут от нее — и они укажут, что вам делать дальше!

ПРЕДЛОЖЕНИЯ

(Книги, на которые ссылаются по именам авторов, перечислены в библиографии.)

Единственное важное полномасштабное обсуждение для учителей по всей теме сказки — это «Изучение сказок» Креди. Она скорее полна энтузиазма, чем строго критична, и это добавляет ей полезности. В ней есть исчерпывающие библиографии. Приведенные выше цитаты Рёскина взяты из его введения к «Гримм» Тейлора; их также можно найти в его собрании сочинений, в «На старой дороге». Статью мисс Репплайер «Битва младенцев» в ее «Эссе в миниатюре» следует прочитать целиком. Совершенно стимулирующей является статья Брайана Хукера «Повествование и сказка», Bookman, том XXXIII, стр. 389, 501; см. также его «Типы сказок», Forum, том XL, стр. 375. Для научной фазы начните с «Науки о сказках» Хартленда. По педагогике см. Адлера, Макклинток, Макмюрри.

147

Many English folk tales have doubtless been lost because no one made a serious attempt to collect them until railroads, newspapers, and popular education had greatly changed the life of the English folk and destroyed many of the traditions. For the preservation of many folk tales that we have, English-speaking peoples are indebted to the scholarly antiquarian James Orchard Halliwell (afterwards Halliwell-Phillips, 1820-1889), who in the year 1842 edited a collection of The Nursery Rhymes of England for the Percy Society. He followed it a few years later with Popular Rhymes and Nursery Tales. They have long been regarded as the basic books in their field. These two collections were reprinted as Nursery Rhymes and Tales. This one-volume edition is the one referred to in the following pages. Halliwell should be remembered as the first person to collect in a scientific way the folk literature of England. He gathered these rhymes and tales from the mouths of the folk, from chapbooks, and from many other sources and endeavored to tell them as they had been told by the folk.

"The Old Woman and Her Pig" is perhaps the most familiar of all nursery stories. It belongs to the type of story known as the "accumulative," of which "The House That Jack Built" is the purest model. In such a story there is a constant repetition of the plot, with an addition or slight change at each repetition, until at the end there is a quick unwinding which carries us back to the initial situation and solves the difficulty with which the story started. Halliwell gives two versions of this particular story. It is so widespread that many slight variations would be expected in successful retellings of it. The traditional version which follows seems to be the favorite with primary teachers. It introduces at the sixth stage the attractive rhyme "I see by the moonlight, etc.," which originally formed part of another nursery tale.

СТАРАЯ ЖЕНЩИНА И ЕЕ ПОРОСЕНОК

Однажды старая женщина подметала свой маленький домик, когда к своей великой радости нашла серебряный шестипенсовик.

«Что, — сказала она, — мне делать с этим маленьким шестипенсовиком? Думаю, я пойду на рынок и куплю поросенка». Итак, на следующий день она пошла на рынок и купила хорошенького маленького белого поросенка. Она привязала веревку к одной из ножек поросенка и начала гнать его домой.

По дороге старая женщина и ее поросенок подошли к изгороди, и она сказала:

"Please, pig, get over the stile."

But the pig would not.

В этот момент подбежала маленькая собачка, и старая женщина сказала ей:

"Dog, dog, bite pig;

Pig won't get over the stile,

And I sha'n't get home to-night."

But the dog would not.

Тогда старая женщина подняла свою палку и сказала:

"Stick, stick, beat dog;

Dog won't bite pig;

Pig won't get over the stile,

And I sha'n't get home to-night."

But the stick would not.

Тогда старая женщина собрала немного дров, чтобы развести огонь, подожгла их, а затем бросила свою палку в огонь и сказала:

"Fire, fire, burn stick;

Stick won't beat dog;

Dog won't bite pig;

Pig won't get over the stile,

And I sha'n't get home to-night."

But the fire would not.

Тогда старая женщина принесла ведро воды, которое стояло рядом, и сказала:

"Water, water, quench fire;

Fire won't burn stick;

Stick won't beat dog;

Dog won't bite pig;

Pig won't get over the stile,

And I sha'n't get home to-night."

But the water would not.

Затем старая женщина увидела приближающегося быка; поэтому она сказала:

"Ox, ox, drink water;

Water won't quench fire;

Fire won't burn stick;

Stick won't beat dog;

Dog won't bite pig;

Pig won't go.

I see by the moonlight,

It's long past midnight;

Time pig and I were home an hour and a half ago."

But the ox would not.

Тогда старая женщина обернулась и увидела мясника, и она сказала:

"Butcher, butcher, kill ox;

Ox won't drink water;

Water won't quench fire;

Fire won't burn stick;

Stick won't beat dog;

Dog won't bite pig;

Pig won't go.

I see by the moonlight,

It's long past midnight;

Time pig and I were home an hour and a half ago."

But the butcher would not.

Тогда старая женщина достала из кармана веревку и сказала:

"Rope, rope, hang butcher;

Butcher won't kill ox;

Ox won't drink water;

Water won't quench fire;

Fire won't burn stick;

Stick won't beat dog;

Dog won't bite pig;

Pig won't go.

I see by the moonlight,

It's long past midnight;

Time pig and I were home an hour and a half ago."

But the rope would not.

В этот момент по лугу пробежала большая коричневая мышь, и она сказала:

"Mouse, mouse, gnaw rope;

Rope won't hang butcher;

Butcher won't kill ox;

Ox won't drink water;

Water won't quench fire;

Fire won't burn stick;

Stick won't beat dog;

Dog won't bite pig;

Pig won't go.

I see by the moonlight,

It's long past midnight;

Time pig and I were home an hour and a half ago."

"Yes," said the mouse, "I will if you

will give me some cheese."

Тогда старая женщина засунула руку в карман и нашла хороший кусочек сыра; и когда мышь съела его,

The mouse began to gnaw the rope,

The rope began to hang the butcher,

The butcher began to kill the ox,

The ox began to drink the water,

The water began to quench the fire,

The fire began to burn the stick,

The stick began to beat the dog,

The dog began to bite the pig,

And the pig began to go.

Но в какое время старая женщина и ее поросенок добрались до дома, ни вы, ни я, никто не знает.

148

Teachers and parents owe a greater debt of gratitude to Joseph Jacobs than to any other modern student of folklore. He was born in Australia in 1854, spent most of his life in scholarly pursuits in England, and died in America in 1916. In his six volumes of English, Celtic, Indian, and European fairy tales he gave the world versions of its best known and most representative folk stories in a form suited to children while remaining true in all essentials to the original oral versions of the folk. This combination of scientific accuracy and literary workmanship is very rare. In the introductions and notes to these various volumes may be found a wealth of information which the general reader can understand without the necessity of special training in the science of folklore. And best of all, these volumes can be had at prices that are comparatively cheap.

The following story of "Henny-Penny" is given in the fine version by Joseph Jacobs in his English Fairy Tales. He heard it as a child in Australia and he thinks "the fun consists in the avoidance of all pronouns, which results in jawbreaking sentences." This story is also very familiar in the Halliwell version called "Chicken-Licken," and there are numerous European parallels.

ХЕННИ-ПЕННИ

Однажды Хенни-Пенни собирала зерно на птичьем дворе, когда — бац! — что-то ударило ее по голове. «Боже мой милостивый!» — сказала Хенни-Пенни. — «Небо падает; я должна пойти и рассказать королю».

И она пошла, и пошла, и пошла, пока не встретила Коки-Локи. «Куда ты идешь, Хенни-Пенни?» — говорит Коки-Локи. «О! Я иду рассказать королю, что небо падает», — говорит Хенни-Пенни. «Можно мне пойти с тобой?» — говорит Коки-Локи. «Конечно», — говорит Хенни-Пенни. Итак, Хенни-Пенни и Коки-Локи пошли рассказать королю, что небо падает.

Они пошли, и пошли, и пошли, пока не встретили Даки-Даддлса. «Куда вы идете, Хенни-Пенни и Коки-Локи?» — говорит Даки-Даддлс. «О! Мы идем рассказать королю, что небо падает», — сказали Хенни-Пенни и Коки-Локи. «Можно мне пойти с вами?» — говорит Даки-Даддлс. «Конечно», — сказали Хенни-Пенни и Коки-Локи. Итак, Хенни-Пенни, Коки-Локи и Даки-Даддлс пошли рассказать королю, что небо падает.

И они пошли, и пошли, и пошли, пока не встретили Гуси-Пуси. «Куда вы идете, Хенни-Пенни, Коки-Локи и Даки-Даддлс?» — сказал Гуси-Пуси. «О! Мы идем рассказать королю, что небо падает», — сказали Хенни-Пенни, Коки-Локи и Даки-Даддлс. «Можно мне пойти с вами?» — сказал Гуси-Пуси. «Конечно», — сказали Хенни-Пенни, Коки-Локи и Даки-Даддлс. Итак, Хенни-Пенни, Коки-Локи, Даки-Даддлс и Гуси-Пуси пошли рассказать королю, что небо падает.

И они пошли, и пошли, и пошли, пока не встретили Турки-Лурки. «Куда вы идете, Хенни-Пенни, Коки-Локи, Даки-Даддлс и Гуси-Пуси?» — говорит Турки-Лурки. «О! Мы идем рассказать королю, что небо падает», — сказали Хенни-Пенни, Коки-Локи, Даки-Даддлс и Гуси-Пуси. «Можно мне пойти с вами, Хенни-Пенни, Коки-Локи, Даки-Даддлс и Гуси-Пуси?» — сказал Турки-Лурки. «О, конечно, Турки-Лурки», — сказали Хенни-Пенни, Коки-Локи, Даки-Даддлс и Гуси-Пуси. Итак, Хенни-Пенни, Коки-Локи, Даки-Даддлс, Гуси-Пуси и Турки-Лурки все пошли рассказать королю, что небо падает.

И они пошли, и пошли, и пошли, пока не встретили Фокси-Вокси, и Фокси-Вокси сказал Хенни-Пенни, Коки-Локи, Даки-Даддлсу, Гуси-Пуси и Турки-Лурки: «Куда вы идете, Хенни-Пенни, Коки-Локи, Даки-Даддлс, Гуси-Пуси и Турки-Лурки?» И Хенни-Пенни, Коки-Локи, Даки-Даддлс, Гуси-Пуси и Турки-Лурки сказали Фокси-Вокси: «Мы идем рассказать королю, что небо падает». «О! Но это не путь к королю, Хенни-Пенни, Коки-Локи, Даки-Даддлс, Гуси-Пуси и Турки-Лурки», — говорит Фокси-Вокси; «Я знаю правильный путь; показать вам?» «О, конечно, Фокси-Вокси», — сказали Хенни-Пенни, Коки-Локи, Даки-Даддлс, Гуси-Пуси и Турки-Лурки. Итак, Хенни-Пенни, Коки-Локи, Даки-Даддлс, Гуси-Пуси, Турки-Лурки и Фокси-Вокси все пошли рассказать королю, что небо падает.

И они пошли, и пошли, и пошли, пока не подошли к узкой и темной норе. Это была дверь пещеры Фокси-Вокси. Но Фокси-Вокси сказал Хенни-Пенни, Коки-Локи, Даки-Даддлсу, Гуси-Пуси и Турки-Лурки: «Это короткий путь к дворцу короля; вы скоро доберетесь туда, если пойдете за мной. Я пойду первым, а вы идите следом, Хенни-Пенни, Коки-Локи, Даки-Даддлс, Гуси-Пуси и Турки-Лурки». «Почему, конечно, безусловно, без сомнения, почему бы и нет?» — сказали Хенни-Пенни, Коки-Локи, Даки-Даддлс, Гуси-Пуси и Турки-Лурки.

Итак, Фокси-Вокси вошел в свою пещеру, и он не зашел далеко, а обернулся, чтобы подождать Хенни-Пенни, Коки-Локи, Даки-Даддлса, Гуси-Пуси и Турки-Лурки. Итак, наконец, сначала Турки-Лурки прошел через темную нору в пещеру. Он не успел далеко уйти, как «Хрумф», Фокси-Вокси откусил голову Турки-Лурки и бросил его тело через левое плечо. Затем вошла Гуси-Пуси, и «Хрумф», голова долой, и Гуси-Пуси была брошена рядом с Турки-Лурки. Затем Даки-Даддлс перевалился внутрь, и «Хрумф», щелкнул Фокси-Вокси, и голова Даки-Даддлса была откушена, и Даки-Даддлс был брошен рядом с Турки-Лурки и Гуси-Пуси. Затем Коки-Локи прошествовал в пещеру, и он не успел далеко уйти, как «Щелк, Хрумф!» — сделал Фокси-Вокси, и Коки-Локи был брошен рядом с Турки-Лурки, Гуси-Пуси и Даки-Даддлсом.

Но Фокси-Вокси сделал два укуса Коки-Локи, и когда первый щелчок только ранил Коки-Локи, но не убил его, он закричал Хенни-Пенни. Но она повернулась и побежала домой, так что она никогда не рассказала королю, что небо падает.

149

The favorite story of "Teeny-Tiny" is taken from Halliwell, who obtained it from oral tradition, and by whom it was, apparently, first put into print. "This simple tale," he says, "seldom fails to rivet the attention of children, especially if well told. The last two words should be said loudly with a start." Many modern story-tellers seem to prefer modified forms of this story, presumably owing to a feeling on their part that the bone and the churchyard have gruesome suggestions. Carolyn S. Bailey gives one of the best of these modified forms in her Firelight Stories, where the woman goes into a field instead of the churchyard, finds a hen at the foot of a tree, thinks this is a chance to have an egg for her breakfast, puts the hen in her reticule, goes home, puts the hen in her cupboard, and goes upstairs to take a nap. Of course the "teeny-tiny" goes in at every point. Substituting "hen" for "bone," the story continues substantially as given below.

КРОШЕЧНАЯ

Однажды жила-была крошечная женщина в крошечном домике в крошечной деревне. И вот однажды эта крошечная женщина надела свой крошечный чепчик и вышла из своего крошечного домика, чтобы совершить крошечную прогулку. И когда эта крошечная женщина прошла крошечное расстояние, она подошла к крошечной калитке; поэтому крошечная женщина открыла крошечную калитку и вошла на крошечное кладбище. И когда эта крошечная женщина вошла на крошечное кладбище, она увидела крошечную косточку на крошечной могиле, и крошечная женщина сказала самой себе: «Эта крошечная косточка сделает мне крошечный суп на мой крошечный ужин». Итак, крошечная женщина положила крошечную косточку в свой крошечный карман и пошла домой в свой крошечный домик.

И вот, когда крошечная женщина добралась до дома, до своего крошечного домика, она была крошечно усталой; поэтому она поднялась по своим крошечным ступенькам к своей крошечной кровати и положила крошечную косточку в крошечный шкафчик. И когда эта крошечная женщина проспала крошечное время, ее разбудил крошечный голос из крошечного шкафчика, который сказал:

"GIVE ME MY BONE!"

И эта крошечная женщина была крошечно напугана, поэтому она спрятала свою крошечную голову под крошечное одеяло и снова уснула. И когда она проспала снова крошечное время, крошечный голос снова закричал из крошечного шкафчика крошечно громче,

"GIVE ME MY BONE!"

Это сделало крошечную женщину крошечно более напуганной, поэтому она спрятала свою крошечную голову крошечно дальше под крошечное одеяло. И когда крошечная женщина проспала снова крошечное время, крошечный голос из крошечного шкафчика сказал снова крошечно громче,

"GIVE ME MY BONE!"

И эта крошечная женщина была крошечно больше напугана, но она высунула свою крошечную голову из-под крошечного одеяла и сказала своим самым громким крошечным голосом,

"TAKE IT!"

150

The very old story that follows is taken from Halliwell, and is, according to Jacobs, scarcely more than a variant of "The Old Woman and Her Pig." Like that story, "The Cat and the Mouse" appeals to small people by its pronounced rhythmical structure, accentuated by the rhyme which marks the transition to each new section, and by the "run" at the close.

КОШКА И МЫШЬ

The cat and the mouse

Played in the malt-house:

Кошка откусила мыши хвост. «Прошу, киска, отдай мне мой хвост».

«Нет, — сказала кошка, — я не отдам тебе твой хвост, пока ты не пойдешь к корове и не принесешь мне молока».

First she leapt, and then she ran,

Till she came to the cow, and thus began:

«Прошу, корова, дай мне молока, чтобы я могла дать кошке молока, чтобы кошка могла отдать мне мой собственный хвост».

«Нет, — сказала корова, — я не дам тебе молока, пока ты не пойдешь к фермеру и не принесешь мне сена».

First she leapt, and then she ran,

Till she came to the farmer, and thus began:

«Прошу, фермер, дай мне сена, чтобы я могла дать корове сена, чтобы корова могла дать мне молока, чтобы я могла дать кошке молока, чтобы кошка могла отдать мне мой собственный хвост».

«Нет, — сказал фермер, — я не дам тебе сена, пока ты не пойдешь к мяснику и не принесешь мне мяса».

First she leapt, and then she ran,

Till she came to the butcher, and thus began:

«Прошу, мясник, дай мне мяса, чтобы я могла дать фермеру мяса, чтобы фермер мог дать мне сена, чтобы я могла дать корове сена, чтобы корова могла дать мне молока, чтобы я могла дать кошке молока, чтобы кошка могла отдать мне мой собственный хвост».

«Нет, — сказал мясник, — я не дам тебе мяса, пока ты не пойдешь к пекарю и не принесешь мне хлеба».

First she leapt, and then she ran,

Till she came to the baker, and thus began:

«Прошу, пекарь, дай мне хлеба, чтобы я могла дать мяснику хлеба, чтобы мясник мог дать мне мяса, чтобы я могла дать фермеру мяса, чтобы фермер мог дать мне сена, чтобы я могла дать корове сена, чтобы корова могла дать мне молока, чтобы я могла дать кошке молока, чтобы кошка могла отдать мне мой собственный хвост».

"Yes," said the baker, "I'll give you some bread,

But if you eat my meal, I'll cut off your head."

Тогда пекарь дал мыши хлеба, и мышь дала мяснику хлеба, и мясник дал мыши мяса, и мышь дала фермеру мяса, и фермер дал мыши сена, и мышь дала корове сена, и корова дала мыши молока, и мышь дала кошке молока, и кошка отдала мыши ее собственный хвост.

151

The following story is in the most familiar version of Halliwell's collection. Another much-used form of the story may be found in Lang's Green Fairy Book, in which the pigs are distinctly characterized and given the names of Browny, Whitey, and Blacky. Jacobs uses the Halliwell version in his English Fairy Tales, but prefixes to it an opening formula which seems to have been much in use by old story-tellers as a way of beginning almost any oral story for children:

"Once upon a time when pigs spoke rhyme

And monkeys chewed tobacco,

And hens took snuff to make them tough,

And ducks went quack, quack, quack, O!"

ИСТОРИЯ О ТРЕХ МАЛЕНЬКИХ ПОРОСЯТАХ

Однажды жила-была старая свинья с тремя маленькими поросятами, и так как ей нечем было их кормить, она отправила их искать свое счастье. Первый, кто отправился в путь, встретил человека с охапкой соломы и сказал ему:

«Пожалуйста, человек, дай мне эту солому, чтобы построить себе дом».

Что человек и сделал, и маленький поросенок построил из нее дом. Вскоре подошел волк, постучал в дверь и сказал:

«Маленький поросенок, маленький поросенок, пусти меня войти».

На что поросенок ответил:

«Нет, нет, клянусь волоском на моем подбородке».

Волк тогда ответил на это:

«Тогда я буду пыхтеть, и дуть, и сдую твой дом».

Итак, он пыхтел, и дул, и сдул его дом, и съел маленького поросенка.

Второй маленький поросенок встретил человека с охапкой дрока и сказал:

«Пожалуйста, человек, дай мне этот дрок, чтобы построить дом».

Что человек и сделал, и поросенок построил свой дом. Затем подошел волк и сказал:

«Маленький поросенок, маленький поросенок, пусти меня войти».

«Нет, нет, клянусь волоском на моем подбородке».

«Тогда я буду дуть, и пыхтеть, и сдую твой дом».

Итак, он пыхтел, и дул, и дул, и пыхтел, и наконец сдул дом, и съел маленького поросенка.

Третий маленький поросенок встретил человека с грузом кирпичей и сказал:

«Пожалуйста, человек, дай мне эти кирпичи, чтобы построить дом».

Итак, человек дал ему кирпичи, и он построил из них свой дом. Затем пришел волк, как он делал с другими маленькими поросятами, и сказал:

«Маленький поросенок, маленький поросенок, пусти меня войти».

«Нет, нет, клянусь волоском на моем подбородке».